Clipping and Gradient - Revision history

Steve at 18:56, 15 August 2013

2013-08-15T18:56:45Z

Steve at 18:22, 15 August 2013

2013-08-15T18:22:33Z

Steve at 16:05, 15 August 2013

2013-08-15T16:05:58Z

Steve at 16:01, 15 August 2013

2013-08-15T16:01:58Z

Steve: /* Compose for Flash Coverage */

2013-08-15T16:01:06Z

‎Compose for Flash Coverage

Steve at 16:00, 15 August 2013

2013-08-15T16:00:21Z

Steve at 15:59, 15 August 2013

2013-08-15T15:59:01Z

Steve: Created page with "{{Fast Page}}"

2013-08-14T19:47:23Z

Created page with "{{Fast Page}}"

New page

@@ Line 1: / Line 1: @@
 __TOC__
 [[HyperSync]] pushes cameras and strobes to their limits. You may find that your images are not entirely or evenly lit across the full frame at your camera’s fastest shutter speeds. If HyperSync hits a limitation of the camera or flash, you may capture some portion of the shutter curtain or the falling tail end of your strobe’s flash in the picture, which we call “Clipping” or a “Gradient.”
@@ Line 10: / Line 13: @@
-<center>
+There are several ways to minimize and manage the impact of clipping and gradient in your images. You can read about each of them below.
-<gallery perrow=2 widths=300px heights=200px>
-File:ClippingExample.jpg|HyperSync clipping at 1/8000
-File:GradientExample.JPG|HyperSync with a gradient at 1/8000
-</gallery>
-</center>
+<br clear=all>
-There are several ways to minimize and manage the impact of clipping and gradient in your images, including:
@@ Line 26: / Line 23: @@
-You can see sample HyperSync images captured with your combination of camera and flash when you follow these links:
+You can see sample HyperSync images captured with your combination of camera and flash when you follow the links in the table below.
 {{N HATT}}
@@ Line 45: / Line 40: @@
 ==Use a Slower Shutter Speed above X-sync==
 Not all shots will require the use of your camera’s fastest shutter speed. If your image can be captured at 1/500 instead of 1/8000, you might consider doing so, in the interest of minimizing clipping and gradient. At HyperSync speeds just above X-sync, you might consider using [[HyperSync/HSS Tab#Optimize HyperSync Automation For: |Highest Energy]].
-<center>
+<nowiki>*</nowiki>HyperSync results will vary based on the camera and flash used.
-<gallery perrow=2 widths=300px heights=200px>
-File:Duck500.jpg|HyperSync at 1/500*
+<br clear=all>
-File:Duck4000.jpg|Equivalent exposure at 1/4000*
-</gallery>
-<nowiki>*</nowiki>Results will vary depending on the camera and flash used.
-</center>
@@ Line 64: / Line 58: @@
 ==Crop if Necessary==
 Often minor hard clipping can simply be cropped out of a final image. Some photographers will plan ahead for this, composing their images knowing that a small portion will be cropped out later. Some Nikon shooters will use their camera’s Auto DX Crop to cut out clipping in-camera, assuming they don’t need to maximize their image area.
+<br clear=all>
-[[File:CropFlower.jpg|thumb|x250px|center|HyperSync with clipping, intended crop shown in red]]
 ==Compose for Flash Coverage==
 Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene. Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.
+<br clear=all>
-<center>
-<gallery perrow=2 widths=300px heights=200px>
-File:Motorcycle shot w logo and info.jpg|HyperSync at 1/6400, outdoors
-File:7d motorcycle gradient.jpg|HyperSync at 1/6400, same settings, indoors on white wall
-</gallery>
-</center>

@@ Line 5: / Line 5: @@
 Clipping occurs when the camera’s shutter curtain is captured in the image. It looks like a black bar at the top or bottom of the image, where no flash information has been recorded.
 A gradient occurs when the fading “tail” of a flash pulse (where most of the energy has been expended) is captured in the image. It looks like the light is “falling off” from brightness at the bottom to darkness at the top. This means the flash coverage is not even throughout the photo.
@@ Line 15: / Line 24: @@
 HyperSync works best with certain cameras and flashes. Cameras with a fast shutter work best because they are able to capture precise portions of a flash curve. Faster cameras have more evenly-illuminated frames without clipping. Strobes with long flash durations are better for HyperSync because a longer flash duration lets the camera capture a smoother, higher energy part of the flash duration. Speedlites and IGBT-controlled strobes may not be ideal for HyperSync, and should be used at full power for best results. See the “IGBT flashes vs. Voltage Controlled flashes” page for more details.
 You can see sample HyperSync images captured with your combination of camera and flash when you follow these links:
@@ Line 37: / Line 47: @@
 Not all shots will require the use of your camera’s fastest shutter speed. If your image can be captured at 1/500 instead of 1/8000, you might consider doing so, in the interest of minimizing clipping and gradient. At HyperSync speeds just above X-sync, you might consider using [[HyperSync/HSS Tab#Optimize HyperSync Automation For: |Highest Energy]].
@@ Line 47: / Line 66: @@
 Often minor hard clipping can simply be cropped out of a final image. Some photographers will plan ahead for this, composing their images knowing that a small portion will be cropped out later. Some Nikon shooters will use their camera’s Auto DX Crop to cut out clipping in-camera, assuming they don’t need to maximize their image area.
@@ Line 52: / Line 74: @@
 Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene. Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.

← Older revision		Revision as of 16:05, 15 August 2013
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	A gradient occurs when the fading “tail” of a flash pulse (where most of the energy has been expended) is captured in the image. It looks like the light is “falling off” from brightness at the bottom to darkness at the top. This means the flash coverage is not even throughout the photo.		A gradient occurs when the fading “tail” of a flash pulse (where most of the energy has been expended) is captured in the image. It looks like the light is “falling off” from brightness at the bottom to darkness at the top. This means the flash coverage is not even throughout the photo.
		+

	There are several ways to minimize and manage the impact of clipping and gradient in your images, including:		There are several ways to minimize and manage the impact of clipping and gradient in your images, including:

← Older revision		Revision as of 16:01, 15 August 2013
Line 51:		Line 51:

	Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene. Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.		Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene. Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.
		+

	==Make an Overlay in Post-Production==		==Make an Overlay in Post-Production==

@@ Line 50: / Line 50: @@
 ==Compose for Flash Coverage==
-Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene.
+Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene. Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.
-−
 Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.
-−
 ==Make an Overlay in Post-Production==

← Older revision		Revision as of 15:59, 15 August 2013
Line 1:		Line 1:
−	{{~~Fast Page~~}}	+	__TOC__
		+
		+	[[HyperSync]] pushes cameras and strobes to their limits. You may find that your images are not entirely or evenly lit across the full frame at your camera’s fastest shutter speeds. If HyperSync hits a limitation of the camera or flash, you may capture some portion of the shutter curtain or the falling tail end of your strobe’s flash in the picture, which we call “Clipping” or a “Gradient.”
		+
		+
		+	Clipping occurs when the camera’s shutter curtain is captured in the image. It looks like a black bar at the top or bottom of the image, where no flash information has been recorded.
		+
		+	[[File:IMG 4015.JPG\|300px\|thumb\|center\|Clipping captured at 1/8000]]
		+
		+
		+	A gradient occurs when the fading “tail” of a flash pulse (where most of the energy has been expended) is captured in the image. It looks like the light is “falling off” from brightness at the bottom to darkness at the top. This means the flash coverage is not even throughout the photo.
		+
		+	[[File:IMG 0282.JPG\|300px\|thumb\|center\|Gradient captured at 1/8000]]
		+
		+
		+	There are several ways to minimize and manage the impact of clipping and gradient in your images, including:
		+
		+
		+	==Using the Best Combination of Camera and Flash==
		+
		+	HyperSync works best with certain cameras and flashes. Cameras with a fast shutter work best because they are able to capture precise portions of a flash curve. Faster cameras have more evenly-illuminated frames without clipping. Strobes with long flash durations are better for HyperSync because a longer flash duration lets the camera capture a smoother, higher energy part of the flash duration. Speedlites and IGBT-controlled strobes may not be ideal for HyperSync, and should be used at full power for best results. See the “IGBT flashes vs. Voltage Controlled flashes” page for more details.
		+
		+	You can see sample HyperSync images captured with your combination of camera and flash when you follow these links:
		+
		+	<center>
		+	{{C HATT}}
		+
		+	{{N HATT}}
		+	</center>
		+
		+
		+	{{Don't see your gear?}}
		+
		+
		+	==Properly Configure Your Radios==
		+
		+	Be sure to properly configure your ControlTL transmitter and all receivers for HyperSync. Visit our [[HyperSync Setup]] page for detailed instructions.
		+	If you are using a ControlTL receiver, like the PowerMC2, PowerST4, or FlexTT5 with AC9 AlienBees Adapter, be sure to consider the “Optimize HyperSync Automation For:” setting. This setting will greatly impact the appearance of clipping and gradient. You can read more about “Optimize HyperSync Automation For:” on [[HyperSync/HSS Tab#Optimize HyperSync Automation For: \|this page]].
		+
		+
		+	==Use a Slower Shutter Speed above X-sync==
		+
		+	Not all shots will require the use of your camera’s fastest shutter speed. If your image can be captured at 1/500 instead of 1/8000, you might consider doing so, in the interest of minimizing clipping and gradient. At HyperSync speeds just above X-sync, you might consider using [[HyperSync/HSS Tab#Optimize HyperSync Automation For: \|Highest Energy]].
		+
		+	<center>
		+	<gallery widths=400px caption="HyperSync at 1/500 vs. 1/4000. Results will vary depending on camera and flash.">
		+	File:Duck500.jpg
		+	File:Duck4000.jpg
		+	</gallery>
		+	</center>
		+
		+	<br clear=all>
		+
		+
		+	==Use Full Power Flash==
		+
		+	It is often best to use full-power flash for HyperSync. Typically the higher the flash power, the longer the duration, which will improve flash evenness in frame.
		+
		+
		+	==Crop if Necessary==
		+
		+	Often minor hard clipping can simply be cropped out of a final image. Some photographers will plan ahead for this, composing their images knowing that a small portion will be cropped out later. Some Nikon shooters will use their camera’s Auto DX Crop to cut out clipping in-camera, assuming they don’t need to maximize their image area.
		+
		+	[[File:CropFlower.jpg\|thumb\|center\|HyperSync with clipping, intended crop shown in red]]
		+
		+	<br clear=all>
		+
		+
		+	==Compose for Flash Coverage==
		+
		+	Some photographers will orient their cameras such that any gradient falls in the far background of their image, where light from the flash would not fall anyway. By composing in this way, the photographer prevents the gradient from contributing to the scene.
		+
		+	Many photographers find that what appears to be an unacceptable gradient in the studio is not as apparent when they shoot outdoors.
		+
		+
		+	<center>
		+	<gallery widths=400px caption="HyperSync at 1/6400, outdoors vs. HyperSync at 1/6400, same settings, indoors on white wall">
		+	File:Motorcycle shot w logo and info.jpg
		+	File:7d motorcycle gradient.jpg
		+	</gallery>
		+	</center>
		+
		+
		+	==Make an Overlay in Post-Production==
		+
		+	Once you have chosen your camera, flash, power and exposure settings, it is possible to capture a “white wall” image, to be used later as an overlay in post-production, such as in Adobe Photoshop or Adobe Lightroom. Shoot a frame under the exact conditions that will be used for the final image, with a plain background (preferably white.) Once you have captured your final image, you can use the “white wall” shot as a mask for a curve, levels, or other type of layer or tool to minimize or remove gradation. This technique is perhaps the most labor-intensive, and may not be applicable to all photographic situations.
		+
		+	<br />
		+
		+	{{CustomerService}}